Performing Resistance/ Negotiating Sovereignty: Indigenous Women’s Performance Art In Canada investigates the contemporary production of Indigenous performance and video art in Canada in terms of cultural continuance, survivance and resistance. Drawing on critical Indigenous methodology, which foregrounds the necessity of privileging multiple Indigenous systems of knowledge, it explores these themes through the lenses of storytelling, decolonization, activism, and agency. With specific reference to performances by Rebecca Belmore, Lori Blondeau, Cheryl L'Hirondelle, Skeena Reece and Dana Claxton, as well as others, it argues that Indigenous performance art should be understood in terms of i) its enduring relationship to activism and resistance ii) its ongoing use as a tool for interventions in colonially entrenched spaces, and iii) its longstanding role in maintaining self-determination and cultural sovereignty. / Thesis (Ph.D, Art History) -- Queen's University, 2011-09-30 09:07:41.999

At the turn of the 21st century, truth commissions arose as a new possibility to address the violence and trauma of removing Indigenous children from their families and nations in what is now known as North America. The creation of two truth and reconciliation commissions in Canada and Maine marked an important step in addressing Indigenous demands for justice and the end of harm, alongside Indigenous calls for truth-telling. Holding Indigenous conceptions of justice at its core, this dissertation offers a comparative tracing of the work of the Truth and Reconciliation Commission of Canada (2009-2015) and the Maine Wabanaki-State Child Welfare Truth and Reconciliation Commission (2013-2015) as they investigated state practices of removing Indigenous children from their homes and nations. More specifically, this dissertation examines the ways these truth commissions have intersected with Indigenous stories and how Indigenous stories can inform how we understand the work of truth and reconciliation commissions as they move to provide a form of justice for our communities. Within both commission processes, stories of Indigenous experiences in residential schools and the child welfare system were drawn from the perceived margins of settler colonial society in an effort to move towards truth, healing, reconciliation and justice. Despite this attempted inclusion of stories of Indigenous life experiences, I argue that deeply listening to Indigenous stories ¬¬in their various forms—life/ experiential stories, and traditional stories—illuminates the ways that the practice of reconciliation has become disconnected from Indigenous understandings of justice. As such, I argue that listening to Indigenous stories, not just hearing the words but instead taking them to heart, engaging with them and allowing them to guide us, moves toward more informed understandings of what justice looks like for Indigenous communities. / Graduate / 2022-09-12

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This dissertation seeks to illuminate key aspects of Coast Salish legal sensibility. It draws on collaborative fieldwork carried out between 2007 and 2010 with Stó:lō communities from the Fraser Valley in southern British Columbia, and on the rich ethnohistorical record produced on, with, and by members of the Stó:lō polity and of the wider Coast Salish social world to which they belong. The preoccupation underlying this inquiry is to better understand how to approach an Indigenous legal tradition on its own terms, in a way respectful of its distinctiveness – especially in an ongoing colonial context, and from my position as an outsider to this tradition. As such, a main question drives the inquiry: What makes a legal tradition what it is? Two series of legal insights emerge from this work. The first are theoretical and methodological. The character of a legal tradition, I suggest, owes more to implicit norms than to explicit ones. In order to gain the kind of understanding that allows for respectful interactions with the principles and processes that inform decision-making within a given legal order, one must learn to decipher the norms that are not so much talked about as tacitly modelled by its members. Paying attention to pragmatic forms of communication – the mode of conveying meaning interactively and contextually, typically by showing rather than telling – reveals the hidden normative canvas upon which explicit norms are grafted. This deeper layer of normativity inflects peoples’ subjectivity and sense of their own agency – the distinctive fabric of their socialization. This lens on law – emerging from a reflection on the stories that Stó:lō friends shared with me, on the discussions had with them, and on the relational experience of Stó:lō / Coast Salish pedagogy, and further informed by scholarship on Indigenous and Western law, political philosophy and sociolinguistics – yields a second series of insights. Those are ethnographical, about Coast Salish legal sensibility itself. They attach to three central institutions of the Stó:lō legal order: the Transformer storycycle, longhouse governance practice and the figure of the witness, and ancestral names – corresponding to three sets of key relationships within the tradition: to the land, to the spirit, and to kin. Among those insights, a central one concerns the importance of interconnectedness as an organizing principle within Stó:lō / Coast Salish legal orders. Coast Salish people are not simply aware of the factual interdependence of people and things in the world, pay special attention to this, and happen to offer a description of the world as interconnected. There is a normative commitment at work here. Interconnectedness informs dominant interpretations of how the world should work. It is a source of explicit responsibilities and obligations – but more amorphously and pervasively yet, it structures legitimate discourse and appropriate behavior within contemporary Coast Salish societies. / Graduate / 2018-10-20